1

Decentralising via Russia:

Glinka’s A Life for the Tsar in Nice, 1890

Published Cambridge Opera Journal, Vol.27, No.1 (March 2015), pp.35-62

Abstract On 30 January 1890, the audience at the Théâtre Municipal in Nice witnessed

something extraordinary. Midway through the first public performance of a Russian opera in

France, Glinka’s A Life for the Tsar, the chorus and orchestra broke into a rendition of the

Russian national anthem, followed by the ‘Marseillaise’. Both anthems were then repeated, with

the audience calling out ‘Vive la Russie!’, ‘Vive la France!’ With France and Russia on the verge

of an historic alliance, the evening was proclaimed a political and an artistic triumph. The

success of this unusual event, I suggest, can be explained further by considering the context of

operatic decentralisation in France, in conjunction with the arrival of the new director at the

Théâtre, Raoul Gunsbourg. As a result of local and personal imperatives, the performance came

to resonate nationally, with A Life serving as an unlikely emblem of modernity, while also

bringing one peripheral French region strongly into Paris’s purview.

***

In 1891, Charme dangereux, the latest release from the prolific novelist André Theuriet, hit the

shelves. It told the story of a staid Parisian, Jacques, who succumbs to the charms of a

mysterious Russian princess, the unforgettably named Mania Liebling, while vacationing in

Nice. She first catches his eye at the Théâtre Municipal during a performance of Don Giovanni:

2

After the conclusion of the trio des masques, the singers were recalled and an ovation was

given to Ludkof. All of a sudden, from amid the upstanding crowd, voices called for ‘the

Russian anthem!’ The curtain, already half dropped, rose, the soloists and choir

reappeared on the stage and the orchestra struck up the first bars of the Russian national

air. In the blink of an eye, the whole room was on its feet, and it made a striking effect:

the sight of these three tiers of boxes, decorated with bare-shouldered young ladies,

applauding with excitement. With each word of the hymn, the demonstration

heightened, the audience in the orchestra stalls letting out loud cheers and stamping

their feet. An electric thrill shook all these souls. Mouths opened wide to hurl out

acclamations, ladies tore the flowers from their corsages and threw them onto the stage,

men frantically waved their hats. Jacques looked to the box on the first level; the

unknown woman in white, eyes lit up, breast heaving, had torn off her gloves and was

striking the palms of her little bare hands together, as if to bruise them…1

Beyond its function as a rather unsubtle plot device, this outpouring of enthusiasm for Russia

might seem incongruous. Yet Theuriet’s description is made up of near-direct quotes from

newspaper reports of a real-life event: on 30 January 1890,2 midway through the French-

1 ‘Après le finale du trio des masques, on rappela les chanteurs, on fit une ovation à la Ludkof. Tout à coup, du milieu de la foule très montée, des voix réclamèrent “l’hymne russe !” Le rideau à demi baissé déjà se releva, les artistes et les chœurs reparurent sur la scène, puis l’orchestre attaqua les premières mesures de l’air national russe. En un clin d’œil la salle entière fut debout, et c’était d’un effet saisissant, l’aspect de ces trois étages de loges garnies de jeunes femmes aux épaules nues applaudissant avec exaltation. A mesure que se succédaient les paroles de l’hymne, la manifestation grandissait, les spectateurs de l’orchestre criaient des vivats et trépignaient. Une émotion électrique secouait toutes ces âmes. Les bouches s’ouvraient pour jeter des acclamations, les femmes arrachaient les fleurs de leur corsage et les lançaient sur la scène, les homes agitaient frénétiquement leurs chapeaux. Jacques regarda la loge du premier étage; l’inconnue en blanc, les yeux illuminés, la poitrine soulevée, avait déchiré ses gants et frappait l’une contre l’autre, à les meurtrir, les paumes de ses petites mains nues …’ André Theuriet, Charme dangereux (Paris, 1891), 66-7. ‘Ludkof’ is a fictional Russian singer playing Zerlina. All translations are my own unless otherwise indicated. 2 The date of A Life for the Tsar’s French premiere is frequently given as February 1899, following the incorrect information given in LeRoy Ellis, La Colonie russe dans les Alpes-Maritimes: des origines à 1939 (Nice, 1988), 161.

3 language premiere of A Life for the Tsar at the Théâtre Municipal in Nice, the audience had risen

for the Russian national anthem with excited cries of ‘Vive la Russie! Vive la France!’3

Afterwards, the Marseillaise was sung, before both anthems were repeated. The reaction was so

heated, so unprecedented – and so many critics from Paris were there to witness it – that it was

vividly related in all the local, and many of the national papers in the following days. Never

before had an opera performance in Nice provoked such widespread interest. Reviewers on all

sides declared that the premiere had ‘achieved a double success: the first, from an artistic point

of view, and the second, from a political one’.4

The reason, in part, was that France and Russia were on the verge of a critical alliance.

After the Franco-Prussian War (1870-1), France had been left diplomatically isolated. Then, in

1882, Russia also became vulnerable following Bismarck’s consolidation of the Triple Alliance

(Triplice) between Germany, Austro-Hungary and Italy, and negotiations began for a Franco-

Russian entente, the terms of which would be drafted in 1892 and finalised in 1894. The period

has frequently been described as one of growing chauvinism, in which French music critics

became increasingly hostile towards the importation of foreign repertoire.5 After all, the

humiliating losses suffered during the Franco-Prussian War, combined with the threat of the

new central European alliance, left many anxious over the country’s waning political and

3 See, for example, the report in Le Petit Niҫois, 31 January 1890: ‘The whole theatre rose to its feet trembling and applauded the hymn … Cries of Vive la Russie! Vive la France! sounded out from around the auditorium … A new cry rang out from every breast: La Marseillaise! And all of a sudden … among this enthused, sparkling, vibrant, enflamed crowd, came the opening bars of our national anthem’ (‘La salle toute entière se lève frémissante et applaudit l’hymne … Des cris de Vive la Russie! Vive la France! partent de diverse points de la salle … un nouveau cri s’échappe de toutes poitrines: La Marseillaise! Et tout à coup … au milieu de ce public enthousiasmé, éclatent, vibrantes, enflammées, les premières mesures de notre chant national’). 4 Le Cosmopolite (Nice), 4 February 1890, quoted in Paule Druilhe, ‘Une Originale figure de directeur de Théâtre lyrique: Raoul Gunsbourg à Nice (1889-1891)’, Nice historique 62 (1978), 108. 5 On French nervousness over German and Italian influence in this period see, for example, Christophe Charle, ‘Opera in France, 1870-1914: Between Nationalism and Foreign Imports’, trans. Jennifer Boittin, in Opera and Society in Italy and France from Monteverdi to Bourdieu, ed. Victoria Johnson, Jane Fulcher and Thomas Ertman (Cambridge, 2007), 243-66; Jann Pasler, ‘Paris: Conflicting Notions of Progress’, in The Late Romantic Era: From the Mid-Nineteenth Century to World War I, ed. Jim Samson (Basingstoke, 1991), esp. 392-400; and Clair Rowden, ‘Werther, La Navarraise and verismo: A Matter of Taste’, Franco-British Studies 37 (2006-7), 6-17.

4 cultural prestige in comparison with the growing strength of the new Italian and German

nation states. None of this, however, would not stop audiences flocking to foreign operas,

leaving critics in a double bind: while internationalism in the opera house could not be

explicitly encouraged, to ignore foreign repertoire would be to risk sacrificing Paris’s position as

a leading cultural centre.

In this context, the approaching alliance led some to frame Russian music as an ideal

foreign import – something that would maintain international connections, without

compromising nationalistic agendas. Although the early French reception of Russian music has

been explored to an extent, the story typically focuses around moments in which this repertoire

was treated as an exotic import, such as the special Russian nights held during the Parisian

Universal Expositions of 1878 and 1889.6 The next major event to receive attention is then the

arrival of Sergei Diaghilev in 1907, which famously led to years of sensational seasons of

Russian ballet and opera. Revisiting these incidents is undoubtedly important for

understanding the roots of one of the most frequently discussed problems in the reception of

Russian composers: that their popularity in the West has often been dependent on their

supposed ‘Russianness’.7 But, at the same time, this focus paints a picture of Russian musical

culture as structurally isolated, and with little in it of interest to its westerly neighbours beyond

novelty. Such narratives, as I seek to demonstrate here, require nuancing through investigation

6 See, for instance André Schaeffner, ‘Debussy et ses rapports avec la musique russe’, in Pierre Souvtchinsky, Musique russe; études réunies (Paris, 1953), 95-138; Elaine Brody, ‘Russians in Paris (1889-1914)’, in Russian and Soviet Music: Essays for Boris Schwarz, ed. Malcolm Hamrick Brown (Ann Arbor, 1984), 157-83; Annegret Fauser, Musical Encounters at the 1889 Paris World's Fair (Rochester, NY, 2005), 43-7; and Malou Haine, ‘Paris à l’heure musicale russe: le rôle des expositions universelles de 1867 à 1900’, Musique, images, instruments: Revue française d’organologie et d’iconographie musicale 13 (2012), 15-28. One study that has taken a more political approach is Helena Tyrväinen, ‘Helsinki – Saint Petersburg – Paris: The Franco-Russian Alliance and Finnish French Musical Relations’, Finnish Music Quarterly 1 (2003), 51-9. 7 For a recent discussion of this problem, see Richard Taruskin, ‘Non-Nationalists and Other Nationalists’, 19th-Century Music, 35 (2011), especially 143.

5 into a broader range of moments of cultural contact, and by uncovering more complex

processes of musical migration.8

In what follows, I explore how it was that, in this period of new alliances, A Life for the

Tsar (and not a French opera) became so important for the Théâtre Municipal in Nice, an

institution thoroughly on the periphery of the French opera network. Drawing on recent

investigations of operatic decentralisation in France by Katharine Ellis and Clair Rowden, I

explore both the desire in Nice for Parisian recognition, and also why Nice, rather than Paris,

was first to stage Russia’s cornerstone opera.9 But there was more to this premiere and its

raucous reception than concerns about the state of the French nation, or of Niҫois musical life.

After all, many in the audience were foreign tourists rather than local patriots. Such a reaction,

therefore, would not have been possible were it not for the right publicity, the right guests and a

carefully choreographed first night.

The Arrival of Gunsbourg

The driving force behind the French premiere of A Life for the Tsar was the new director at the

Théâtre Municipal, Raoul Gunsbourg (1860-1955). Though born in Romania, Gunsbourg spent

his career lucratively marketing France to Russia and, later, Russia to France; he was, it could be

said, the model of a transnational intermediary. Having lived in Paris as a medical auditor, he

moved to Moscow in 1880 to work as an actor at a French Salon des Variétés. After the

8 One study that has already made forays in this direction is Philip Bullock’s Rosa Newmarch and Russian Music in Late Nineteenth and early Twentieth-century Britain (Farnham, 2009). 9 On operatic decentralisation in nineteenth-century France, see in particular Clair Rowden, ‘Decentralisation and Regeneration at the Théâtre des Arts, Rouen, 1889-1891’, Revue de musicologie 94 (2008), 139-80; and a number of important chapters and articles by Katharine Ellis: ‘Unintended Consequences: Theatre Deregulation and Opera in France, 1864-1878’, Cambridge Opera Journal, 22 (2010), 327-52; ‘Funding Opera in Regional France: Ideologies of the Mid-Nineteenth Century’, in Art and Ideology in European Opera: Essays in Honour of Julian Rushton, ed. Clive Brown, David Cooper and Rachel Cowgill (Woodbridge, 2010), 67-84; ‘Mireille’s Homecoming? Gounod, Mistral and the Midi’, Journal of the American Musicological Society 65 (2012), 463-509; and ‘How to Make Wagner Normal: Lohengrin’s “tour de France” of 1891-92’, Cambridge Opera Journal 25 (2013), 121-37.

6 assassination of Tsar Alexander II the following year, all the state theatres were temporarily

closed for public mourning, but foreign institutions were permitted to remain open. Gunsbourg

seized the opportunity and took over as manager of the Salon, transformed it into a Théâtre des

Variétés and began staging plays and operettas in French.10 With the revocation of the Imperial

theatre monopoly in 1882, full-length French-language operas were permitted for the first time

in Russia in almost 70 years.11 Gunsbourg gradually worked his way up, directing open-air

theatres and private performances for Alexander III, until, in 1888, he was appointed to the

Arcadia Theatre, where he staged full-scale French-language operas for the paying public.12

Once well established in Russia, Gunsbourg began to spend his winters directing in

France, first in Lille (1888-9) and then Nice (1889-92).13 His tenure at the Théâtre Municipal,

however, had an uncertain start. The opera season was no small matter for the people of Nice,

and when municipal council meetings were held to select the director in April 1889, large

crowds turned out to have their say.14 ‘This question, as we know’, a report read in the leading

local paper, Le Petit Niҫois, ‘is one of utmost importance and can have a serious influence on the

success of our winter season, in which the performances given at the magnificent hall on the rue

St-Franҫois-de-Paule constitute one of the main attractions’.15 The ‘winter season’, which ran

10 Raoul Gunsbourg, Cent ans de souvenirs … ou presque (Monaco, 1959), 25-7. 11 See Murray Frame, ‘“Freedom of the Theatres”: The Abolition of the Russian Imperial Theatre Monopoly’, Slavonic and Eastern European Review 83 (2005), 254-89. 12 In 1882, Gunsbourg was invited to direct a French open-air summer theatre in St Petersburg, and later established the Théâtre de la Renaissance there, dedicated to French operetta. His first French-language operas were for Alexander III at Peterhof and Krasnoe-Selo, where he gave Saint-Saëns’ Samson et Dalila and Gounod’s Faust. See Gunsbourg, Cent ans, 33-5. 13 In his (somewhat unreliable) memoir, Gunsbourg recalled that he was advised to make the change for his health. He also reported that he was sent as a personal envoy for the Tsar to help smooth the Franco-Russian alliance, though there is scant evidence to support this claim. Gunsbourg, Cent ans, 70. 14 The minutes of the meeting show that Gunsbourg was chosen on the basis of his excellent references and his ambitious list of proposed singers. Recorded in council meeting minutes of 10 April 1889, Nice Archives Municipales [hereafter NAM], ‘Délibérations du conseil municipal de la ville de Nice’, Vol. 19, 325-7. 15 ‘Cette question, on le sait, est des plus importantes et peut avoir une influence sérieuse sur la réussite de notre saison d’hiver, dont les représentations données à la magnifique salle de la rue St-Franҫois-de-Paule constituent un des attraits principaux.’ Le Petit Niҫois, 10 April 1889.

7 from November to April, saw thousands of wealthy visitors flock to Nice for the mild climate

and the chance to mingle with aristocrats from across the globe. Their expenditure determined

the economic well-being of the city, making it vital that the opera house, the centrepiece of the

season, was a success.

Though shaped by the habits and tastes of outsiders, the Théâtre Municipal had become

a hotly contested space for expressing local identity. Gunsbourg’s election took place just as the

city’s first ever French-language municipal opera season, under its first ever French director

was drawing to a close. Although Nice had been ceded to France from the Kingdom of Sardinia

in 1860, the language, directors and much of the repertoire of the Municipal Theatre had

remained Italian until 1888, when a four-year campaign to switch the language of the theatre

from Italian to French finally came to fruition.16 Since 1871, pro-Italian separatists, under the

banner of their newspaper, Il pensiero di Nizza, had campaigned to retain Italian opera in Nice.17

They eventually lost out to the French nationalists, led by Henry Hardy-Polday through the

local journal, Le Rabelais, which described the Francification of the theatre as the top priority in

the fight against ‘Italianisms’ (italienneries) in the city, ahead of guarding the French-Italian

border and eliminating separatist newspapers and societies.18 In 1888, the Italian impresario,

16 See Laure Baretge, ‘L’Evolution de la vie musicale à Nice de 1860 à 1914’, MA dissertation (Université de Nice Sophia Antipolis, 1998), résumé available at https://www.cg06.fr/documents/Import/decouvrir-les-am/rr163-musique.pdf (accessed 18 November 2014). 17 The title of the paper played aptly on Verdi’s ‘Va pensiero’ – Garibaldi was born in Nice and campaigned against its return to France in 1860. The newspaper was closed in 1895 in the clampdown on separatism. For more on the separatists and the integration of Nice into France in these years, see Mireille Massot, ‘L’intégration de Nice à la république française à travers le Pensiero di Nizza, 1870-1895’, in Les Alpes-Maritimes. Intégration et particularismes. 1860-1914 (Nice, 1988), 347-57. 18 ‘In the plans for the long-term campaign that Le Rabelais has waged against Italianisms, there are four objectives that have been pursued relentlessly: 1) The implantation of the Opéra Franҫais at the municipal theatre, 2) The defence of the south-east frontier, 3) The expulsion of those papers published in a certain foreign language, which have the special mission of spreading separatist ideas, 4) The dissolution of Italian Societies which masquerade as charitable groups in order to conceal their dangerous political associations’ (‘Dans le plan de campagne que depuis longtemps, Le Rabelais s’est tracé contre les italienneries, il est quatre objectifs qui ont été poursuivis sans relâche: 1° L’implantation de l’Opéra Franҫais du Théâtre subventionné de la ville. 2° La défense de la frontière du Sud-Est. 3° L’expulsion de certaines feuilles publiées en langue étrangère et qui ont pour mission spéciale d’entretenir ici des idées de Séparatisme. 4° La dissolution des Sociétés italiennes qui sous masque de Charité par Secours mutuels cachent de dangereuses associations politiques.’) ‘Italienneries’, Le Rabelais, 17 April 1892, 49-50.

8 Edoardo Sonzongo, was replaced with the French Auguste Taillefer, and, as a show of support

for the theatre’s national rebranding, the council made a considerable increase to the opera

subsidy, raising it from 72,000 to 100,000 francs.19 Some members of the municipal council even

proposed adding a clause to the cahiers des charges dictating that the director of the theatre must

be of French nationality.20 Though the motion was not passed, there was public outcry and

rioting at the Théâtre Municipal when it was announced that Taillefer was being replaced, after

just one season, by someone called ‘Gunsbourg’.21 The local papers released various assurances

that, despite his name, he was definitely not German. Gunsbourg nevertheless had much to

prove in that first year if he wanted to secure a second term.

One obvious method of ensuring that the season was at least financially stable would be

to stage an opera that piqued local interest. A Life for the Tsar, still one of the most frequently

performed operas in Russia, was sure to appeal to the city’s sizeable Russian community.

Though Nice had attracted Russian visitors since the eighteenth century, it had become a

particularly fashionable winter destination after 1856, when Nicholas I’s widow, Alexandra

Feodorovna, and her entourage began to make extended visits, setting up home at the villa

Avigdor annually until her death in 1860.22 She also had an Orthodox chapel, the first in France

outside of Paris, erected on the Rue Longchamp, creating a focal point for an emerging Russian

19 ‘Grand Théâtre de l’Opéra de Nice [Document d’archives]: tableaux de la troupe et journal des recettes’, Bibliothèque Nationale de France, Musique [hereafter BNMus], VM DOS-5 (1). This new figure was much closer to that found at leading opera houses in the provinces. Rouen’s Théâtre des Arts, for instance, at that time received a subsidy of 130,000 francs. 20 This was proposed by ‘M. Iaort’ according to the council meeting minutes of 10 April 1889, NAM, ‘Délibérations du conseil municipal de la ville de Nice’, Vol.19, 325-7. 21 Reports about the riots can be found, among others, in Le Petit Niҫois, 14 April 1889, 1. The news even spread to the national papers, including Gil Blas on 13 April, where it was related by the somewhat impartial correspondent, Hardy-Polday. 22 See Martine Arrigo-Schwartz, Âme slave au pays bleu (Nice, 2008), 57-62. For more on the Russian presence in Nice, see Emmanuel Fricero, ‘Les Russes à Nice au siècle passé’, Nice Historique 116 (1952), 55-82; Paul Augier, Quand les grands ducs valsaient à Nice (Paris, 1981), 14-19; and Ellis, Les Russes sur la Côte d’Azur.

9 quarter.23 By 1880, the Russians were the third most numerous visitors to Nice (after the French

and British), and had established a substantial permanent presence there.24

In recognition of this influential demographic, Gunsbourg’s whole first season had an

unusually Russian bent. As well as producing A Life, he used his Russian connections to book

the ballerina Virginia Zucchi, a firm favourite on the Russian stage. By the time subscriptions

went on sale in October 1889, both A Life and Zucchi had been announced for the coming

season,25 and one notice reported that ‘the Russian colony, [which is] so well represented in our

city, has proven extremely quick to fill the boxes and orchestra stalls, and the number now

registered far surpasses that of previous years’.26 But, it was not simply by pandering to the

Russian community that Gunsbourg could hope to secure his re-election; he would also use his

season showpiece to help put Nice on the map, thus proving not only his local but also his

national loyalties.

Nice through Parisian Eyes

The journey is short, but the route delicious, along this silk-fringed ribbon of coast

[…] Come! We’ll bid adieu to the mists of the Seine. We’ll forget, for a time,

the failings of men, the sadness of things.27

23 See Sophie Ollivier, ‘L’Orthodoxie dans le Sud-Est de la France’, Eastern Christian Studies 3 (2003), 463-4. 24 See Arrigo-Schwartz, Âme slave au pays bleu, 26. 25 A Life was announced when Gunsbourg applied for the post (Le Monde élégant, 24 April 1889) and Zucchi’s appearance was confirmed as early as July (Le Monde élégant, 10 July 1889). See Druilhe, ‘Une Originale figure’, 97-98. 26 Le Cosmopolite, 10 October 1889, quoted in Druilhe, ‘Une Originale figure’, 98. 27 ‘Le trajet est court, mais la route délicieuse, le long de ce ruban de côtes à la frange moirée. … Venez ! nous dirons adieu aux brumes de la Seine. Nous oublierons, pour un temps, les lâchetés des hommes, les tristesses des choses.’ Stéphen Liégeard, Côte d’Azur (Paris, 1887), 2. Côte d’Azur was a best-selling travel guide and rebranded the area, replacing the Italian term, ‘Riviera’, with the French ‘Côte d’Azur’.

10 In 1890, music critics in Nice were preoccupied with the issue of operatic decentralisation. After

the deregulation of the theatres in 1864 under Napoléon III, and even more so after the Franco-

Prussian War, theatres in the provinces had struggled to hold grand opera seasons due to a lack

of funds.28 By 1890, however, things were looking up. When the Théâtre-Lyrique in Paris closed

in 1877, just two state-funded opera theatres were left in the capital: the Opéra and Opéra-

Comique, meaning that spare funds and the position of the nation’s third opera house were up

for grabs.29 What is more, with the cahiers des charges of the Opéra and Opéra-Comique

restricting their repertoire to just two novelties per season, there was insufficient space for the

vast supply of new operas being written. Composers began to look to theatres further afield,

thus lending further incentive, and further opportunities, for regional stages to make their

mark.30 Back in 1877 and 1879, Lyon had established itself as a potential contender for France’s

third opera house, with premieres of Gounod’s Cinq mars and Saint-Saëns’s Etienne Marcel; but

it was only around a decade later that theatres in the provinces were really beginning to rival

Paris. Following a Parisian-led campaign in 1888, Rouen’s Théâtre des Arts, for instance,

presented itself as a viable extension to the capital’s opera scene through premieres of Saint-

Saëns’s Samson et Dalila and Albert Cahen’s Le Vénitien on 3 March and 14 April 1890

respectively, as well as the first successful French performance of Wagner’s Lohengrin in 1891.31

28 See Ellis, ‘Unintended Consequences’, 334-43 and 351-2. 29 Operatic decentralisation had been under discussion since the 1830s, but it was in this period that the matter gained in urgency. See Rowden, ‘Decentralisation and Regeneration’, 141-4. 30 Beyond France, a major alternative to Paris became the rival French-speaking capital, Brussels. Its Théâtre de la Monnaie saw the premieres of Massenet’s Hériodade in 1881, Chabrier’s Gwendoline in 1886 and Ernest Reyer’s Sigurd in 1884 and Salammbô in 1890. Composers also looked beyond French-speaking theatres, to cities such as Vienna (Jules Massenet’s Werther, 16 February 1892), St Petersburg (Gaston Salvayre’s Riccardo III, 21 December 1884) and Weimar (Saint-Saëns’s Samson et Dalila, 2 December 1877). 31 See Ellis, ‘How to make Wagner Normal’, 121-37and Rowden, ‘Decentralisation and Regeneration’, 149-55 and 172. The early months of 1890 indicate just how strong competition was becoming. As well as these two performances in Rouen in 1890, and following shortly after Nice’s A Life for the Tsar on 30 January, Reyer’s Salammbô was premiered on 10 February in Brussels and Saint-Saëns’s Ascanio at the Opéra in Paris on 21 March.

11

Yet while Nice was on its way to becoming France’s fifth most populous city, and

despite its opera house receiving a considerable municipal subsidy, attracting eminent soloists

and giving packed six-month seasons every year, it remained far from being counted among the

leading regional centres for opera.32 For a start, having been Italian until 1888, the Théâtre

Municipal had only recently become an eligible extension of the French opera network. What is

more, the physical distance of Nice from Paris, combined with its predominantly Niҫard-

speaking local population (an Italianate French dialect), rendered the city separate in practical

terms. And things were further complicated, first by questions over the city’s conceptual

connections to France and second, by the feeling that its cosmopolitan, elitist opera scene

belonged in a past age.

For readers of Theuriet’s Charme dangereux, the symbolism of the foreign, carefree

‘woman in white’, Mania, who seduces the restrained Frenchman, Jacques, would not have

been difficult to decipher. Nice, at the time, was typically depicted by writers in the capital as a

destination for the French to escape to, rather than to inhabit. Even in appearance, the Comté de

Nice seemed something of an alien place. Its landscape, with its stretches of unindustrialised

land, azure seas, bright sun, orangeries and palm trees, little resembled the densely populated,

damp north. The exotic plants imported to the region from across the Mediterranean even

meant that Parisian observers were more likely to compare the area to Africa or the Orient than

to the rest of France.33 When critics came to Nice from Paris to report on A Life for the Tsar in

1890, many started their accounts with wide-eyed descriptions of the scenery. Henri Bauer of

L’Echo de Paris, for instance, began his review:

32 Cities better known for opera at the time included Lyon, Rouen, Bordeaux, Marseille, Lille, Toulouse and Nantes. See Rowden, ‘Decentralisation and Regeneration’, 139. 33 See Martine Arrigo-Schwartz, ‘Les littérateurs parisiens entre 1860 et 1914 à la recherche d’une spécificité niçoise’, in Le Comté de Nice de la Savoie à Europe: identité, mémoire et devenir (Nice, 2006), 303-8. Palm trees, brought over from Egypt, were a particular source of novelty.

12

Here, we have the sun, the pleasure of life in the sweet fresh air and by the blue water. It

is a contrast to the fog and mud in which you are currently paddling, dear Parisians, my

brothers, who are accustomed to hellish winter. Ah, how soothing the sojourn in this

blossoming corner of the world, blessed with the sun’s caresses.34

Fresh air and fog, blue water and muddy puddles, pleasure and struggle, paradise and hell; in

each pairing, the former belongs to the unfamiliar world Bauer is in the midst of discovering,

the latter, to his French ‘brothers’ in Paris.

Mania Liebling’s cosmopolitanism (she is a Russian princess of Galician heritage with an

Austrian husband) embodied another of the city’s most often-noted traits. Since the late

eighteenth century, Nice had attracted visitors from far afield as a destination for the sick to

take the sea air. From the 1860s, however, the influx of foreign visitors increased dramatically,

both as a result of the 1860 annexation to France, and the railway, which reached the south in

1864.35 In the 1870s and ‘80s, tourism boomed and it became fashionable for wealthy families

from Britain, Russia, Germany, Austria and the United States to migrate for the winter simply

for leisure.36 Even the people in Nice could therefore lead Parisians to forget they were in

France.

Nice was also deemed morally distant, as suggested by Mania’s ‘charme dangereux’ and

the plot of Theuriet’s novel, which reflected the city’s reputation as a place of luxury and

hedonism. The winter residents (‘hivernants’) brought such an influx of wealth to the city that,

34 ‘Ici c’est le soleil, le plaisir de vivre dans l’air frais et doux, devant l’eau bleue; c’est une revanche de la brume et de la boue où vous barbotez en ce moment, chers Parisiens, mes frères, coutumiers en géhenne hivernale. Ah! le lénitif séjour que ce coin de terre fleuri, béni des caresses du soleil.’ L’Echo de Paris, 3 February 1890. 35 The journey, once the direct railway line connecting Paris to Nice opened in 1864, took around 15 hours. 36 See C. James Haug, Leisure and Urbanism in Nineteenth-Century Nice (Lawrence, 1982), 23-6 and 48-9; and Dennison Nash, ‘The Rise and Fall of an Aristocratic Tourist Culture, Nice: 1763-1936’, Annals of Tourism Research 6 (1979), 65-7.

13 for ‘the season’, all efforts were directed towards their leisure. Nice became alive with music,

carnivals, flower shows, balls and theatrical entertainments; so much so that many of the

Parisian critics who came in 1890 for the premiere of A Life described the city as a ‘ville de fête’.

As Francisque Sarcey, influential feuilleton writer for Le Temps, marvelled in a lengthy account

of his visit: ‘Ah, millionaires are fortunate people! It must be a never-ending party to be able to

spend the three months of winter in those blessed climes!’37 At first, the hivernants had

purchased villas for their visits, and moved their entire households for the winter. Some of

these residences became home to cercles and salons at which private musical and theatrical

performances were given.38 In the 1870s and ‘80s, however, with tourism expanding and the

new rail connection generating the possibility of short-term stays, hotels replaced villas as the

accommodation of choice. With the decline of villa-based soirées as a result, entertainment

shifted more and more to the public sphere.39 Casinos arrived alongside the hotel boom,

generating more Parisian disdain for – and equal fascination with – the debauched south.40 By

1890, Nice was thus known as a place of extravagance and pleasure-seeking: the ideal setting

for novels about illicit love affairs, though not, perhaps, for serious operatic enterprises.41

That said, Nice was by no means a cultureless place. Indeed, the city had already been

host to two significant opera premieres. Long before the French-language premiere of A Life, the

Russian Baron Pavel von Derwies had given the first performances of the opera in France at his

37 ‘Ah! Les millionnaires sont d’heureuses gens! Ce doit être une perpétuelle fête de pouvoir passer dans ces climats bénis trois mois d’hiver!’ Le Temps, 3 February 1890. 38 See Michel Foussard, ‘Nice’, Dictionnaire de la musique en France au XIXe siècle (Paris, 2003), 863; and Paulette Lèques, ‘Tourisme hivernal et vie mondaine à Nice de 1860 à 1881: cercles et salons’, in Aspects de Nice du XVIIIe au XXe siècle (Paris, 1973), 98-101. 39 See Alain Ruggiero, Nouvelle histoire de Nice (Toulouse, 2006), 192-7. 40 The casinos were not just gambling halls, but also theatres in which family entertainments, operetta and ballet were staged. See Baretge, ‘L’Evolution de la vie musicale’, 9. 41 In this respect, musical culture in Nice was comparable to that of the spa town, another tourist-centred environment then perceived as non-conducive to serious music-making. See Franҫois Lesure, 'La villégiature lyrique, ou la musique dans les casinos au XIXe siècle’, in D'Un Opéra l'autre: hommage à Jean Mongrédien, ed. Jean Gribenski (Paris, 1996), 389-98.

14 villa Valrose (1879 and 1881) and, in 1881, the mezzo-soprano Sophie Cruvelli sang in France’s

first Lohengrin at her Cercle de la Mediterranée.42 Both, however, had been in Italian, and both

had taken place at private villas, rather than municipal institutions. Such performances,

therefore, would not be counted as part of the decentralisation effort, or even as national

premieres, but as evidence of the persistence of a dated Italianate operatic tradition, governed

by closed social circles.

Even as the focus of the winter season moved towards the public Théâtre Municipal,

however, evenings at the opera in Nice continued to resemble elite social gatherings. Most of

the seating in the theatre was taken up by boxes in the old Italian style (rather than more

democratic galleries) to satisfy the foreign colony and to cater for the high demand for

subscriptions.43 Indeed, four different lists were in place to grant access to as many hivernants

as possible.44 Rather like Jacques in Theuriet’s novel, the Parisian critics who came to Nice in

1890 were duly struck by the wealth on display (even if the scene cannot have been so different

from an evening at the Opéra). Sarcey, for instance, continued his gushing commentary by

observing that ‘the theatre was truly beautiful […] all decorated with pretty ladies in full

evening dress, sparkling with diamonds! Heavens, one could never tire of Nice!’45 Attractive as

this might have been in the context of a temporary escape from the capital, it sat uneasily next

to the contemporary Parisian arguments for the popularisation of the opera houses, and even

for an end to the heavy subsidisation of an institution that catered for the privileged few.46 In

42 The next performance of Lohengrin in France would not take place until 1891 in Rouen. For more on the Cruvelli premiere, see Georges Favre, La Villa Valrose: 1870-1881: un haut-lieu musical niçois au XIXe siècle (Paris, 1977), 79-82 and 114-15; and La Vicomtesse Vigier: Sophie Cruvelli: 1826-1907: une grande cantatrice niçoise (Paris, 1979), 71-82. 43 See Foussard, ‘Nice’, 862. 44 The four groups of abonnés were labelled A, B, C and D; announcements in the papers then informed patrons of the list in use for the evening’s performance. 45 ‘La salle était vraiment belle … Toute garnie de jolies femmes en grande toilette, toute étincelante de diamants! Bigre! On ne doit pas s’ennuyer à Nice.’ Le Temps, 3 February 1890. 46 See Myriam Chimènes, ‘Le Budget de la musique sous la IIIe République’, in Hughes Dufourt and Joël-Marie Fauquet, eds., La Musique: du théorique au politique (Paris, 1991), 269-71.

15 Nice, not only were municipal funds being lavished on the few, but also on foreigners, rather

than those whose taxes funded the theatre. Local critics, therefore, had both to counter the usual

Parisian prejudices about provincial opera-going, and to overcome the preconception that their

city was out of touch – an immobile sunny paradise, full of pleasure-seekers, who left serious

art and matters of national importance to the capital.47

Making the Music of the Past the Music of the Future

Glinka’s A Life for the Tsar might seem an unusual choice of opera to help dispel this image: it

was, by then, 54 years old, it was not French and its musical language was notably Italianate.

On a local level, the opera certainly ensured that the season had a positive financial impact.

With the local papers having built anticipation for the premiere by printing lengthy preview

articles and releasing warnings that tickets were selling fast,48 the first night took 12,828 francs

in receipts, almost eight times the season average of 1,668. 49 Even though ticket prices had been

raised to higher rates than usual, this was a huge amount, on par with the ‘extraordinaire’ nights

which the theatre held in honour of celebrity singers: Adelina Patti, for instance, brought in

13,200 and 12,621 francs for two of her performances in 1895. And it was not just the premiere

that did well. Seven of A Life for the Tsar’s eleven performances were among the ten highest

grossing nights of the season (see Table 1).

[INSERT TABLE 1 AROUND HERE]

47 For more on Parisian perspectives on the musical situation in the south, see Franҫois Lesure, ‘La Musique dans le Midi, vue de Paris’, in Lesure, La Musique de la Midi de la France. Tome II, XIXe siècle: actes des rencontres de Villecroze, 16 au 18 mai 1996 (Paris, 1998), 7-21. 48 Previews appeared, for instance, in Le Petit Niҫois, L’Eclaireur, Le Phare du littoral, La Colonie étrangère, La Saison de Nice and Nice-Monte-Carlo. A review in Le Petit Niҫois on 31 January 1890 reported that the box office had been sold out for six days before the performance, that people were paying vast prices for last-minute tickets (5 to 10 louis – 1 louis being worth 20 francs – for a seat in the stalls and a baron offering 3000 francs for a box), and that there was a queue of 200 people lined up outside the opera house at 6pm on the evening of the premiere. 49 These figures come from the the lists of receipts for the theatre recorded in ‘Grand Théâtre de l’Opéra de Nice [Document d’archives]: tableaux de la troupe et journal des recettes’, BNMus, VM DOS-5 (1).

16

The premiere was also a critical triumph. Gunsbourg sealed local approval by achieving

the ‘miracle’, as Émile Blavet of Le Figaro put it, ‘of tearing around fifteen of the most prominent

Parisian journalists away from their posts at the peak of the winter season and persuading them

that the “action” was not in Paris, but in Nice’.50 In order to encourage the warmest possible

responses from his guests, Gunsbourg greeted them personally on their arrival at the train

station on 29 January 1890, and treated them to extravagant banquets during their stay. This all

seems to have paid off. The Parisian response was uncharacteristically unanimous for a new

opera, and unusually substantial for a regional premiere. Newspapers in the capital were filled

with glowing reports from self-proclaimed Wagnerians, such as Victor Wilder, and

conservatives, such as Sarcey, alike.51 Highlights from these reviews were proudly reprinted in

Nice in the coming days as evidence that the premiere of A Life for the Tsar constituted a

decentralist achievement. Even before the performance, Jean Labeille of Le Petit Niҫois declared

that the opera had already ‘had the initial result of bringing some of the most eminent of our

Parisian brethren to Nice and reminding them that the borders of France do not stop at the

fortifications of Paris’.52

But the Parisians’ enthusiasm was not just a result of Gunsbourg’s good hospitality. For

over twelve years, there had been attempts to have A Life performed in the capital, provoking

50 ‘Lui [Gunsboug] seul pouvait faire ce miracle d’arracher à leurs travaux, en pleine saison d’hiver, une quinzaine de journalistes parisiens, et des plus en vue, et de leur persuader que le “mouvement” était, non à Paris, mais à Nice.’ Le Figaro, 1 February 1890. The critics and editors who attended (many with their wives in tow) included: Francisque Sarcey (Le Temps), Aurélien Scholl (Le Matin), Louis Besson (L’Événement), Adolphe Brisson (Le Parti national), Edmond Stoullig, Lieutard (Le Petit Marseillais), Emile Blavet (Le Figaro and Le Gaulois), Maurice Lefèbvre (Le Figaro), Léon Kerst (Le Petit journal), Louis de Fourcaud (Le Gaulois), Victor Wilder (Gil Blas), Henri Bauer (L’Echo de Paris), Juliette Adam (director of La Nouvelle revue), Octave Mirbeau (La France), Valentin Simond (founder of L’Echo de Paris), Francis Magnard (editor of Le Figaro). 51 Victor Wilder (1835-92) was not only a Wagner enthusiast but played a significant role in promulgating Wagner in France by translating every opera from Lohengrin onwards and assisting Lamoureux with his staging of Lohengrin in Paris in 1887. 52 ‘a déjà eu pour premier résultat d’amener à Nice quelques-uns des plus éminents parmi nos confrères parisiens et de leur rappeler que les frontières de la France ne s’arrêtent pas précisément aux fortifications de Paris’; Le Petit Niҫois, 28 January 1890.

17 many of the Parisian critics to express their regret that the first French performance had taken

place in Nice, and not Paris. Wilder, for instance, remarked in his review:

How is it that a work, so popular in Russia that one cannot begin to count the number of

performances [given there], has remained obstinately ignored here? It will never be

clear. Twenty times over there has been a chance of translating it and putting it on at one

lyric theatre or another; the project has always been abandoned as soon as it was

conceived.53

One reason for such efforts was that A Life had already appeared in numerous cities across

Europe (see Table 2), putting pressure on Paris to follow suit. The 1874 Italian premiere in Milan

may well have triggered the first attempt to give the opera its French début. In 1876, rumours

surfaced of plans to have the opera sung in Russian at the forthcoming Universal Exposition of

1878, but in the end, only extracts were given.54 Performances of the opera in London in 1887,

which were widely reported in Paris,55 were also quickly followed by announcements that plans

were under way for the French premiere.56 Soon afterwards, the publisher Durdilly

commissioned a French vocal score, thus addressing the ‘question of translation’ noted by

53 ‘Comment un œuvre, si populaire en Russie qu’on n’en peut compter […] le nombre de représentations, est-il obstinément resté ignoré chez nous ? On ne le saura jamais. Vingt fois il a été question de le traduire et de le monter sur l’une ou l’autre de nos scènes lyriques; toujours le projet a été abandonné, aussitôt que conçu.’ Gil Blas, 1 February 1890. 54 For reports on these plans, see Le Ménestrel, 9 July 1876, 254. The announcement also indicated that Dargomїzhsky’s Stone Guest would be performed. Extracts from A Life appeared in all four of the 1878 Exposition concerts, with the first including the opening chorus and Antonida’s Cavatina, the second another unnamed ‘air’ and the third and fourth, the Overture and final chorus. 55 See, for example, Le Ménestrel, 24 July 1887, 268-9, which included a translation of a lengthy review by the Times critic, Francis Hueffer. 56 Le Figaro, on 15 November 1887, reported that the librettist Paul-Armand Silvestre and author Jehan Soudan were planning a French adaptation of A Life for the Opéra. Two days later, however, a letter from Jules Ruelle was printed stating that he was currently under contract with Durdilly to make a translation for his upcoming vocal score, making it impossible for Silvestre and Soudan to do the same.

18 Wilder.57 Then, in 1888, a Parisian staging of A Life for the Tsar seemed to be on the cards once

again when a troupe from St Petersburg embarked on a tour of Europe with the opera in their

repertoire.58 All the Parisian theatres appear to have turned them away, however, and they

performed in Germany, Denmark and Britain instead.59 Not that this was the work’s premiere

in Germany where, as the Russian translator and critic Michel Delines lamented, ‘this

masterpiece’ had been known since its premiere in Hanover in 1878.60 Meanwhile, in addition to

keeping up with other cities, the prospect of performing the opera was attractive for the chance

it offered to shake up the tired repertoires of the Opéra and Opéra-Comique. Many Parisian

critics at the Nice premiere in 1890 used their reviews to voice their frustrations at the state of

opera on the capital’s main stages, one remarking, for instance, that he hoped Gunsbourg

would come to Paris soon, since he would be sure to offer them ‘something other than a

hundredth reprise of la Juive or a thousandth reprise of Guillaume Tell’.61

This was not just about finding something outside the usual repertoire, or securing an

opera that had been performed elsewhere. Russian critics had been arguing since 1836 that this

opera heralded ‘the dawn of a new age’ for Europe: that Glinka had combined the best of

‘Italian singing and German harmony’ with a fresh Russian sound to create ‘a new element in

art’.62 Indeed, it was Glinka’s perceived potential to beat the ‘two “wests”’ at their own game

that had helped A Life come to be considered Russia’s figurehead opera.63 While some of the

first French visitors to attend performances of the opera in St Petersburg were sceptical (in 1840,

57 It was published in vocal score with a French text as La Vie pour le Tsar (Paris, 1888). 58 See Tamsin Alexander, ‘An “Extraordinary Engagement”: A Russian Opera Company in Victorian Britain’, in Anthony Cross, ed., A People Passing Rude: British Responses to Russian Culture (Cambridge, 2012), 97-112. 59 In Le Ménestrel, reports were still appearing on 29 April 1888 (142) that the company might stop in France. It may be that plans had been made but were abandoned. The troupe’s stay in London had ended in financial disaster, forcing them to return home prematurely (see Alexander, ‘An “Extraordinary Engagement”’, 101). 60 La Revue universelle illustrée (January-February 1890), 330. 61 Le Guide musical, 9 February 1890, 47. 62 Vladimir Odoyevsky, ‘Letter to a music lover on the subject of Glinka’s opera A Life for the Tsar’, The Northern Bee, 7 December 1836, trans. Stuart Campbell in Campbell, ed., Russians on Russian Music, 1830-1880 (Cambridge, 1994), 3. 63 See Richard Taruskin, Defining Russia Musically (Princeton, 1997), 65-6.

19 Adolphe Adam declared A Life ‘a failure’ that ‘would have next to no chance of success in any

country besides Russia’64), these Russian accolades soon began to spread. Franҫois-Joseph Fétis,

for instance, praised A Life in 1857 for being unfettered by tired operatic conventions.65 Russian

assertions that Glinka marked out a third way became increasingly relevant in the 1860s as

French critics railed against Wagner’s ‘music of the future’. In a lengthy article for the Revue

nationale in 1862, Théophile Gautier fils depicted Glinka as a healthy antidote:

Glinka enjoys an advantage which will perhaps shield him from the curse launched by

the public against the so-called school of the future; he has discovered a gold mine in the

music of his country, an inexhaustible vein of completely fresh melodies, whose

procedures, if they have them, differ essentially from ours ... If one needs a special

musical education to appreciate the works of Wagner, the least initiated will always

discover with Glinka a charm that will enchant them.66

By the end of the following decade, Glinka was not being portrayed as an appealing

addition to European repertoires, but as a rival force. After the humiliations of the Franco-

Prussian War and Wagner’s subsequent diatribes against France, debate raged over whether

Wagner should be accepted on the French stage as a progressive artist or rejected as a national

64 ‘Mais il fallait aussi faire une œuvre intéressante, et là, il a échoué … M. Glinka voudrait faire traduire son opéra en allemand et en franҫais, et le faire représenter en Allemagne et en France … mais je crois que dans nul autre pays que la Russie cet ouvrage n’aurait la moindre chances [sic] de succès.’ Adolphe Adam, La France musicale, 21 June 1840, 239. 65 ‘Il ne s'est proposé, en les écrivant, ni de s'astreindre à de certaines formes traditionnelles et considérées aujourd'hui comme nécessaires pour produire ce qu'on appelle de l'effet, ni d'obéir aux exigences d'une action dramatique plus ou moins rapide.’ ‘Michel de Glinka’, La Revue et gazette musicale de Paris, 22 November 1857, 378. 66 ‘Glinka jouit d'un avantage qui le mettra peut-être à l'abri de l'anathème lancé par le public contre l'école dite de l'avenir: il a découvert dans la musique de son pays une mine d'or, une veine inépuisable de mélodies toutes jeunes, dont les procédés, si elles en ont, diffèrent essentiellement des nôtres … S'il faut une certaine éducation musicale pour apprécier les œuvres de Wagner, les moins initiés trouveront toujours chez Glinka un charme qui les enchaînera.’ ‘La Musique Russe’, Revue nationale et étrangère, politique, scientifique et littéraire, 25 January 1862, 297.

20 enemy.67 Glinka, and Russian music in general, signalled a less fraught alternative. In 1879,

Octave Fouque wrote a ten-part biographical article on Glinka for Le Ménestrel, which

concluded:

If it is true … that we are on the eve of a complete musical revolution; if the antique

modes are to reappear on the scene and dethrone modern tonality, which was

established on their ruins; and if the scales of the Orientals are to invade European

music, we shall probably be preceded in this course by the Russians.68

In this passage, Russian composers are revolutionaries, dethroners, invaders; but this is a

welcome form of anarchy, one in which the French would share. As such, Russian achievements

in the field of national opera were even portrayed as an example to French composers.69 Fouque

concluded his biographical series by announcing that Glinka was at the head of this new

movement:

67 See Steven Huebner, French Opera at the Fin-de-Siècle: Wagnerism, Nationalism, and Style (Oxford, 1999), 13 and 20. 68 ‘S’il est vrai … que nous soyons à la veille d’une complète révolution musicale; si les modes anciens doivent rentrer en scène et détrôner la tonalité moderne, qui s’était établie sur leurs débris; si les gammes des Orientaux doivent faire irruption dans la musique européenne, il est à croire que les Russes nous précéderont dans cette voie.’ ‘Michel Ivanovitch Glinka’, Le Ménestrel, 14 December 1879, 10. One of Fouque’s sources, a chapter entitled ‘L’Opéra national russe’ from Gustave Bertrand’s Les Nationalités musicales étudiées dans le drame lyrique: Gluck-Mozart-Weber-Beethoven-Meyerbeer-Rossini-Auber-Berlioz-F.David-Glinka-Verdisme et wagnérisme-l’école franҫaise militante (Paris, 1872) also aligned Russian music with Wagnerism. When Fouque speculated ‘if the antique modes are to re-appear’, he was in all likelihood reworking the arguments of the French composer and teacher, Louis Bourgault-Ducoudray, who had suggested in previous years, with reference to Greek music, that contemporary music could be rejuvenated through the discovery of scales beyond the major and minor. See Bourgault-Ducoudray, Souvenirs d’une mission musicale en Grèce et en Orient (Paris, 1876) and Etudes sur la musique ecclésiastique grecque: mission musicale en Grèce et en Orient (Paris, 1877). 69 See, for instance, Bertrand, Les Nationalités musicales, 310-31.

21

[Glinka] is the founder and creator; he is the patriarch and father of this numerous

generation of musicians. He was the first who conceived the idea of delving into the

mines of popular melody, all the wealth of which is not yet known.70

Again, the image of the ‘mine’ of folksong treasures is used, this time suggesting that Russia

was in possession of an ancient, powerful natural resource that could be tapped to reinvigorate

Europe.

Throughout the 1870s, Glinka had been increasingly aligned with new music, not just in

print, but also in the concert hall.71 In 1873, Jules Pasdeloup began to programme works by the

composer in his Concerts populaires at the Cirque d’hiver. Taking pride in providing the

masses with the ‘classics’ (Beethoven, Haydn, Mozart, Mendelssohn and Weber) alongside new,

adventurous repertoire, the series was considered the most prestigious in the capital.72 It was

here that Parisians were first able to hear extracts from Wagner’s operas, such as the preludes to

Lohengrin (1870), Tristan und Isolde (1874) and Die Walküre (1881),73 but also some of the first

French performances of Glinka’s Kamarinskaya, Jota Aragonesa and the Overture to A Life for the

Tsar.74 This mirrored similar events elsewhere, such as the promotion of Glinka by prominent

figures of the New German School: Liszt in his Weimar concerts of 1873 and Bülow in his

concert tours and productions of A Life for the Tsar in Hanover in 1878.75 Bülow’s high opinion

70 ‘[Glinka] en est le fondateur, le créateur; il est le patriarche, le père de cette nombreuse génération de musiciens. Le premier, il a eu l’idée de fouiller cette mine dont on ne connaît pas encore toutes les richesses, la mélodie populaire.’ ‘Michel Ivanovitch Glinka’, Le Ménestrel, 14 December 1879, 10. 71 Extracts from Glinka’s operas, A Life for the Tsar and Ruslan and Lyudmila, had first been performed in Paris when Berlioz conducted a concert at the Cirque Olympique des Champs-Elysées on 16 March 1845, following his return from a Russian tour. See La Revue et gazette musicale de Paris, 23 March 1845, 90-1. 72 See Yannick Simon, Jules Pasdeloup et les origines du concert populaire (Lyon, 2011), 1-5. 73 See Martine Kahane and Nicole Wild, Wagner et la France (Paris, 1983), 49-54 and 158-61. 74 Kamarinskaya was given in 1873, 1875, twice in 1877 and in 1879; the Overture to A Life for the Tsar in 1873; and Jota Aragonesa in 1879 (information gathered from concert announcements and reviews in La Revue et Gazette Musicale de Paris and Le Ménestrel). After this, Pasdeloup stopped programming Glinka, but did introduce Paris to works by Rimsky-Korsakov, Tchaikovsky and Dargomїzhsky; see Simon, Jules Pasdeloup, 233-8. 75 See Kennett Birkin, Hans von Bülow: A Life for Music (Cambridge, 2011), especially 280.

22 of Glinka was also publicised widely in 1874 thanks to the infamous article for the Allgemeine

Zeitung, written while in Milan for the Italian premiere of A Life. His outrage at the Milanese

public’s disinterest in Glinka and adoration for Verdi, whose Requiem (which he famously

described as an ‘opera in ecclesiastical robes’) premiered in the same week, prompted a

veritable scandal, leading the review to be translated and reprinted worldwide.76 All these links

– to the New German School, to the Concerts Populaires, to Wagner – reinforced the idea that

Glinka, and Russian music more generally, shared the artistic ideals and serious aesthetics of

the ‘music of the future’, without sharing the problematic Germanic associations that usually

came with it.

In Nice, meanwhile, Pasdeloup’s programming techniques were being mirrored at

Valrose. Derwies likewise included Wagner and Glinka alongside the ‘classics’ to local and – by

the late ‘70s – Parisian acclaim.77 During the years in which the concert series at Valrose was

active (1870-81), many of Glinka’s works were performed ahead of Paris, such as La Jota

Aragonesa, which appeared in 1874, before the first performances in Paris at the Trocadéro in

1878.78 One Niҫois reviewer, ‘Ch-M. Domergue’, praised Derwies’s concerts as ‘art for art’ [l’art

pour l’art], and wrote that one forthcoming concert programme, which included Kamarinskaya,

constituted ‘the epitome of an appreciation of the music of the future’.79 Glinka had thus come to

be associated, both in Paris and Nice, with audiences interested in serious, pioneering artistic

76 See Gundula Kreuzer, ‘“Oper im Kirchengewande”? Verdi’s Requiem and the Anxieties of the Young German Empire’, Journal of the American Musicological Society 58 (2005), 404-6; and Birkin, Hans von Bülow, 222. 77 A critic for the Le Monde élégant, 13 December 1876, declared that ‘neither the Paris Conservatoire, nor Pasdeloup’s concerts, offer their subscribers an equal variety of novelties’ as Derwies (see Favre, La Villa Valrose, 48-50). This local perspective may well have been an exaggeration, but, from what can be gleaned about the programming and the performers, it may not be inaccurate. Derwies was wealthy enough to employ a full-scale orchestra, which counted some of the best musicians in the world: see Ellen Knight, Charles Martin Loeffler: A Life Apart in American Music (Urbana, 1993), 21-3. That the Parisian press picked up on Derwies’s activities also suggests that these concerts were of a high standard. 78 See Schaeffner, ‘Debussy et ses rapports avec la musique russe’, 120. 79 La Saison musicale de Nice, 18 December 1878. The concert also included Beethoven’s Leonore Overture No.3, the ‘Scherzo’ and ‘Finale’ from Victorin de Joncières’s Symphonie romantique, Bruch’s Requiem Romain, Wagner’s Sonate d’album and a Rêverie by Schumann.

23 ventures, making A Life for the Tsar a shrewd choice for a city like Nice – deemed stuck in the

past – to reinvent itself.

When it came to promoting A Life in Nice in 1890, preview and review articles were

consequently filled with declarations that this was a thoroughly modern opera, despite it

having been written in the 1830s and bearing the strong imprint of the bel canto tradition.80 Some

attempted to style this music of the past as the music of the future by stressing that the opera, as

Labeille of Le Petit Niҫois put it, was ‘overflowing with originality’.81 For those who found it less

easy to refute the opera’s Italianisms, assurances were made that Glinka’s Russianness shone

through. ‘Scratch away at the Neapolitan’, Wilder assured his readers, ‘and you find the

Cossack. If the form of his melody is Italian, the sentiment which animates it remains Slav’.82

The local tourist journal La Colonie étrangère provided particularly positive and comprehensive

coverage of the opera, publishing three front-page preview articles in the weeks leading up to

the premiere. In the final instalment, the critic stated: ‘Russia is the country of the future. Who

can dare to deny it, when looking at its literature, its music, its painting, its industry?’83 In an

earlier article, he had remarked that those listening to A Life might be forgiven for thinking that

Glinka had lifted whole passages from the scores of Gounod, Delibes, Massenet and Saint-

Saëns.84 Not only did this declaration suggest affinities between Russia and France, but it also

aligned Glinka with composers who were, quite literally in this case, of the future. Framed in

80 See Rutger Helmers, ‘“It just reeks of Italianism”: Traces of Italian Opera in A Life for the Tsar’, Music & Letters 91 (2010), 376-405. 81 Le Petit Niҫois, 28 January 1890. 82 ‘Grattez le Napolitain, vous retrouverez le Cosaque. Si la forme de sa mélodie est italienne, le sentiment qui l’anime reste slave.’ Gil Blas, 1 February 1890. 83 ‘La Russie est le pays de l’avenir. Qui oserait le nier, en regardant sa littérature, sa musique, sa peinture, son industrie?’ La Colonie étrangère, 2 February 1890. 84 ‘Il les a empruntées, pour ne pas dire volées, de nos compositeurs en vogue, ici 16 pages entières de Delibes, là des phrases de Gounod, de Massenet, de Saint-Saëns et d’autres.’ La Colonie étrangère, 19 January 1890, 1.

24 this way, A Life became an asset to the Théâtre Municipal – proof of its artistic merits and of its

ability to avoid the repertorial stagnation plaguing Paris.

The Nation on Stage

The performances of A Life for the Tsar in Nice also seemed to demonstrate the city’s political

relevance. All the suggestions that Russian music might be the future, that the New Russian

School might provide an equal and opposite force to the New German School, even that Glinka

might be an alternative to Wagner, were highly politically charged – reflections of mounting

hostility towards Germany and new attempts to draw closer to Russia in light of the impending

alliance. In the years before the treaty was signed, there were increasingly frequent public

displays of Franco-Russian affection on both sides in the form of formal visits and cultural

exchanges.85 A production of A Life for the Tsar had the potential to form an ideal, not to mention

dramatic, diplomatic gesture, and thus to place Nice at the forefront of a critical national issue.

Since the very first article on Glinka to appear in France, A Life had been presented as

the cornerstone of the Russian operatic tradition.86 Not only was it patriotic in subject – it

depicts the legend of the rescue of the first Romanov tsar through the self-sacrifice of the

peasant, Ivan Susanin – but it was also the first full-scale, all-sung Russian opera, and the first to

gain permanent repertory status. In consequence, A Life had already been discussed in France as

a potential tool for solidifying the alliance. After the first Russian translation was made of Victor

85 See Michel Espagne, ‘Le Train de Saint-Pétersbourg: Les relations culturelles franco-germano-russes après 1870’, in Transferts culturels triangulaires: France-Allemagne-Russie, ed. Katia Dmitrieva and Espagne (Paris, 1996), 329-31. Debora Silverman, in addition, has explored how the alliance was celebrated through a rococo revival invoking the two countries’ ‘common cultural history of the mid-eighteenth century, when the first Franco-Russian alliance had occurred’. See Silverman, Art Nouveau in Fin-de-Siècle France: Politics, Psychology and Style (Berkeley, 1989), 159-71. 86 Adolphe Adam declared, somewhat disdainfully in 1840, that ‘the Russians possess but a single national opera, it is called All for the Czar’. ‘Quelques Mois Loin de Paris’, La France musicale, 21 June 1840, 239.

25 Hugo’s Hernani in 1887, a staging of the opera was proposed by the pseudonymous ‘Saint-Jean’

as a suitable return gesture, as recorded in Le Figaro:

If it is true that one act of civility merits another, then, since Russia has translated

Hernani and is going to produce it in St Petersburg and Moscow, would it not be in good

taste to stage A Life for the Tsar at the Paris Opéra?87

The next year, French composers actively promoted a French premiere of A Life on similar

grounds. In February, Ambroise Thomas, Charles Gounod, Ernest Reyer, Camille Saint-Saëns,

Jules Massenet and Léo Delibes all signed the charter of the newly-formed ‘Association

artistique et littéraire franco-russe’. At its head was Juliette Adam (1836-1936), a Republican and

Russophile who used her influence as an editor and in her literary salons to promote the

Franco-Russian cause.88 Having secured these composers’ endorsements, Adam encouraged

them to write music on Russian themes and to disseminate Russian music in France in the

coming years.89 It is also likely that she was behind the following appeal, signed by the five

composers, to the minister of the Académie des Beaux-Arts in July 1888:

We the undersigned, members of the musical composition section of the Académie des

Beaux-Arts, eager to give a welcome of international and artistic sympathy to Russia in

87 ‘S’il est vrai qu’une politesse en vaut une autre, puisque la Russie traduit Hernani et va le représenter à Pétersbourg et à Moscou, ne serait-il pas de bon goût de monter la Vie pour le Czar à l’Opéra de Paris?’ Quoted from La Revue de Paris et de Saint-Pétersbourg in Le Figaro, 15 November 1887. 88 This charter, with these composers’ names as well as those of influential literary figures such as Alexandre Dumas, can be found in Folder 14 of the Juliette Adam Collection held at the Lilly Library, Indiana University. As well as being a Russophile, Adam’s hatred of Germany was renowned. In 1885, she famously wrote to Le Figaro denouncing plans for a production of Lohengrin at the Opéra-Comique. 89 See Elaine McAllister and Joseph Baylen, ‘Saint-Saëns and Juliette Adam: An unpublished letter’, Music & Letters, 50 (1969), 296-300. Saint-Saëns wrote to Adam from Algiers on 9 February 1888, saying ‘When I get back I shall begin practising pieces in the purest Muscovite style again and shall see that both the music and my fingers are at your disposal.’

26

the person of Glinka, the illustrious founder of Russian opera, would be glad to see his

principal and popular work, La Vie pour le Tsar, performed on a French stage.90

But if the premiere of A Life represented such a significant political and artistic moment,

how did it end up in Nice, and not Paris? There was, of course, the issue of the overcrowding of

the theatres to keep it from the capital, and the arrival of Gunsbourg to propel it to Nice; but the

answer is also, once again, political. While Paris was home to a large Russian community, many

of its members were political émigrés who opposed the Tsar.91 In Nice, on the other hand,

which filled up each winter with Russian aristocrats, an opera depicting the rescue and

coronation of the first Romanov through the martyrdom of a peasant was more likely to be well

received.92

At the same time, Gunsbourg was also well aware that, by producing an opera that

spoke to a central issue in Republican international policy, he could soothe local anxieties about

the city’s disconnectedness from the rest of France (and about his own national allegiances).

And indeed, the Republican Petit Niҫois, for whom enforcing French local identity was a central

concern, offered by far the most extensive and positive coverage of Gunsbourg’s project,

publishing articles on the opera in every issue from 28 January to 5 February, often on the front

page. With public feeling towards Russia at a new high, not only could A Life be used to attract

90 ‘Monsieur le Ministre, Les soussignés, membres de la section de composition musicale de l'Académie des Beaux-Arts de l'Institut de France, désireux de donner un témoignage de sympathie internationale et artistique à la Russie, dans la personne de Glinka, l'illustre fondateur de l'opéra russe, seraient heureux de voir représenter sur une scène française son œuvre capitale et populaire, la Vie pour le Tsar.’ The letter was published, with the five composers’ names, in a number of journals and newspapers, including Le Ménestrel, 22 July 1888, 235-6: 91 The Russian embassy even encouraged pro-Russian groups in the capital in the 1880s and ‘90s for fear that the émigré community would unsettle public opinion. See George Kennan, The Fateful Alliance: France, Russia, and the coming of the First World War (Manchester, 1984), 69. 92 Funnily enough (in this context), one of the negative stereotypes about the ‘colonie russe’ in Nice was that it was full of wealthy Russian socialites who had no concept of politics, only the social scene. See, for instance, Louis Bertrand’s derisive anecdotes in La Riviera que j’ai connue (Paris, 1933), 219.

27 the attention of Paris, but also to demonstrate the city’s Frenchness, in a venue where this very

issue had long been under dispute.

The reviews in 1890, in Nice and Paris alike, helped enforce the feeling that staging A

Life was an unofficial demonstration of Franco-Russian friendship.93 The librettist, Louis Gallet,

writing in the pro-Russian Nouvelle revue, even called the opera a ‘sort of dramatised

Marseillaise’,94 suggesting the performance was akin to an extended rendition of Russia’s

national anthem. A prominent tendency of the reviews was to treat the opera as the

embodiment of Russia itself. The critic for Nice Artistique informed his readers, for example, that

Glinka’s music ‘was animated by a distinctive spirit as vague and poetic as the land in which

the action takes place’.95 Such affirmations were also used to convey positive popular opinion

towards the Russians. The opera was described by Labeille of Le Petit Niҫois as reflecting ‘the

characteristics of a strong and youthful people’,96 and by Wilder of Gil Blas as ‘the manifestation

of an elevated spirit and a sincere soul’.97 Both echoed familiar tropes that Russia was a

powerful up-and-coming nation, untarnished by Western failings; in short, the ideal ally.

In this context, French critics also proved sympathetic towards the depiction of a

peasant dying to save the ancestor of a soon-to-be allied monarch. Susanin’s self-sacrifice had

become a point of contention among Russian critics in previous years. Vladimir Stasov, for

instance, had complained about what he called Susanin’s ‘hen-like’ submission to a tsar he had

never met.98 The plot had similarly raised eyebrows when the opera was performed in London

93 There is no evidence to suggest that the staging of A Life in Nice was an official (or even covertly official) diplomatic act. The council minutes in Nice’s municipal archive show that this was Gunsbourg’s personal initiative. Nor was it an official ambassadorial quest on Gunsbourg’s part. Though in his autobiography Gunsbourg makes numerous, often far-fetched, claims about his role in the formation of the Franco-Russian alliance, he makes no mention of this performance serving such a purpose; see Gunsbourg, Cent ans, 109-10. 94 La Nouvelle revue, January-February 1890, 878. 95 Nice artistique, 2 February 1890. 96 Le Petit Niҫois, 28 January 1890. 97 Gil Blas, 1 February 1890. 98 A letter from Stasov to Mily Balakirev, M.A.Balakirev i V.V.Stasov: Perepiska, ed. A.S.Lyapunova, Vol.I (Moscow, 1970), 130, quoted in Richard Taruskin, On Russian Music (Berkeley, 2009), 49-50.

28 in 1887, with one critic describing Susanin’s actions as a display of ‘dog-like fidelity’.99 For Louis

Dumas of the fashionable journal La Saison de Nice, however, ‘the devotion of this poor peasant

who places his affection for his country before his children and gives his life to save his prince’

was ‘quite simply sublime’.100 This French-language performance of Russia’s cornerstone opera,

at the newly French Théâtre Municipal and before a cosmopolitan audience, thus became a

reaffirmation of the city’s national allegiances: not to Italy, but to France and Russia. It was

through fostering a transnational relationship, rather than simply premiering a new French

opera, that Gunsbourg could offer Nice a decentralist triumph – an opportunity to draw the

nation’s gaze truly away from the capital.

Staging the Auditorium

And yet, perhaps in recognition of the difficulties in convincingly framing A Life for the Tsar as a

modern opera, without a plot that contradicted Republican politics and without Italian

trappings, the overwhelming focus of the critical response was not the opera itself. Nor did

critics dwell long on the lavish production, replete with new sets and live horses for the

coronation finale.101 Instead, it was the performance in the auditorium that induced most

widespread and enduring media attention. Once again, Gunsbourg was key in ensuring that the

political significations of the premiere were highlighted on the night. Though the anthem

singing was portrayed as spontaneous in the press, the conditions had been carefully set in

place. True, there had been an appreciative atmosphere throughout the evening: the Act I finale

99 The Weekly Dispatch, 17 July 1887. 100 La Saison de Nice, 30 January 1890. 101 This was noted, for instance, in Le Phare du littoral, 31 January 1890: ‘Finally, I [will] report on the superb decor in a few lines … above all, that of a forest in the snow, which produced a striking effect. The grand procession finale was not lacking in scale. A series of riders processed across the stage; it was magnificent.’ (‘Enfin, je signale en quelques lignes les superbes décors … et surtout celui d’une forêt sous la neige, qui a produit un saisissant effet. Le grand défilé final ne manquait pas d’ampleur. Une série de cavaliers ont défilé sur la scène; ça été superbe.’)

29 was followed by three curtain calls to the tune of enthusiastic cries of ‘Vive la Russie!’; Zucchi’s

solo in the Mazurka of Act II was encored, as was Vanya and Susanin’s duet in Act III; the

public, reportedly, cheered every mention of the ‘Tsar’ or ‘Russie’.102 But it was only after Act III

that the demonstrations broke out. One reviewer disclosed that the Russian anthem did not

start up because the audience requested it, but because Gunsbourg ‘gestured to the orchestra’.103

The music was already on the stands, and the chorus had already learnt the words. The timing

was perfect. Such an outburst could not have come after Act I in case the auditorium had not

filled up yet. Act II ends with a chorus of Poles vowing to overthrow the Tsar, Act IV with the

hero’s death, and leaving it to Act V would run the risk of playing to a half-empty house. Act

III, however, concludes with a militant peasant chorus swearing death to a foreign foe: just the

thing to follow up with a patriotic demonstration.104 And in case the public had forgotten that

Gunsbourg was responsible for the evening’s success, he clambered out of his box and took

centre stage to sing along.105

Though this was the first time that the two anthems had been sung in tandem at an

opera house, or that the Russian anthem had interrupted a French opera performance, such

patriotic vocal outbursts were not unprecedented in France. Gunsbourg even had first-hand

experience of the positive impact ostensibly spontaneous singing could have. As the director in

Lille in the previous season, he had introduced Étienne Méhul’s famous revolutionary war

song, ‘Chant du départ’ (1794) at the end of Act III of Offenbach’s La Fille du Tambour-Major: the

point when the Austrian troops attempt to prevent the French from breaking free from a

102 See, for example, the account in Le Figaro, 1 February 1890. 103 L’Union, 2 February 1890. 104 This point was also a common one for such appreciative demonstrations. Indeed just two years before, the theatre had erupted into a special round of applause midway through a performance of Hamlet due to Ambroise Thomas himself being in attendance. 105 This was reported in almost every review. ‘Amaury’, for instance, noted that ‘the enthusiasm [of the crowd] reached its climax when Gunsbourg appeared on the stage, placed himself among the singers, and sang the Marseillaise with them’, Le Petit Niҫois, 31 January 1890.

30 beleaguered position.106 Well aware of the political connotations, the audience rose to sing

along.

Gunsbourg could be confident of an even more heated reaction to his choice of

interpolation in Nice. The sound of Alexey L’vov’s Russian anthem (1833) had become familiar

in France since the 1840s as a popular melody for arrangements and fantasias.107 But in the years

leading up to the alliance, this tune afforded new resonances. Playing the Russian anthem with

the Marseillaise became a common occurrence in public manifestations of pro-Russian feeling.108

Both had been sung, for instance, in Nouart in 1886 at the erection of a monument to Antoine

Chanzy, a general who had served during the Franco-Prussian War and ambassador to Russia

from 1879 to 1882. A report in l’Avenir de la Dordogne in 1889 told of the warm welcome given to

the Russian general and chief of the Main Staff, Nikolai Obruchev, and his French wife when

they came to stay in the region, with crowds gathering to call out ‘Vive la France! Vive la

Russie!’ as the two national songs were played, while similar demonstrations were made at a

barracks in Paris that same year for the visit of the captain of the Russian imperial guard.109 As

the first notes of the Russian anthem sounded at the Théâtre Municipal on 30 January 1890,

therefore, both French and Russian audience members would have realised the implications;

the follow up calls for La Marseillaise were not so much a spontaneous request as part of a well-

rehearsed pattern of patriotic performance.

106 T. J. Walsh, Monte-Carlo Opera, 1879-1909 (Dublin, 1975), 67. 107 Though various arrangements of the hymn had been heard in performance since the 1830s, the first to be published was Russische Volkshymne (Vienna, 1841), and the first from a Parisian publishing house was a ‘Grand fantaisie par l’hymne national russe … pour violon’ (1844). Many followed in the coming decades, including a ‘Fantaisie sur l’hymne national russe’ by Charles Gounod (1886). 108 See also Janine Neboit-Mombet, L’Image de la Russie dans le roman français, 1859-1900 (Clermont-Ferrand, 2005), 18-19. 109 The former story was reported, for example, in L’Avenir de la Dordogne, 1 October 1889; the latter in Le Figaro, 16 May 1889.

31 That evening, moreover, the auditorium was particularly primed for a public

outpouring of Franco-Russian enthusiasm. Gunsbourg scheduled A Life’s premiere at the

highpoint in the season, when all the finest of high society had made their way to Nice for the

carnival, meaning that the turnout was sufficiently impressive to merit extensive lists of notable

persons present in the reviews.110 These included various distant members of the Russian royal

family (such as the Duke and Duchess of Leuchtenberg111) and other members of the Tsar’s

entourage (including an ex-mistress of Nicholas I, Varvara Nelidov Bux). There was also an

array of French and Russian celebrities, such as the spiritualist Maria de Mariategui, Baron de

Rothschild (of the famous banking family) and Henckel von Donnersmarck, one of the richest

industrialists of the age, with his glamorous wife Katharina Slepzow, a fashion icon from St

Petersburg. Alongside such figures, the political leaders of the Alpes-Maritimes, including

Arsène Henry, the Prefect, and Alfred Borriglione, the Deputy, turned out to show their

support. Two well-known lobbyists for the Franco-Russian alliance had also come down to Nice

from Paris expressly to attend the premiere: Paul Déroulède (1846-1914), a nationalist author

and politician who founded the Ligue des patriotes to promote French retaliation against

Germany after 1870; and Juliette Adam who, as well as being an influential campaigner for the

Franco-Russian alliance, was the editor of La Nouvelle revue.112 Then, of course, there were all

those Parisian critics to ensure that the demonstration was reported back in the capital.

The spectacle of the theatre – packed out with politicians, aristocrats and critics, and

united in cheering both France and Russia – caused quite a stir. The combined performance of

110 The season was busiest between the end of January and early March. 111 On 14 July 1839, Nicholas I had granted the title of Imperial Highness to Maximilian de Beauharnais after he married his daughter, the Grand Duchess Maria Nikolayevna. The Duke in attendance in 1890 was Nicholas Maximilianovich de Beauharnais, husband of Nadezhda Sergeevna Annekova. He was named the Fourth Duke of Leuchtenberg in 1890 by Alexander III. 112 The lengthy review that appeared in the journal after the performance, however, was written by Gallet. Since he was not recorded as being one of the Parisian journalists in attendance, it is likely that he wrote his account using a report provided by Adam. See La Nouvelle revue, January-February 1890, 876-9.

32 the anthems was widely treated as symbolic of the harmony between the two nations, and no

one seemed concerned by the contradictory pairing of a revolutionary anthem with one

declaring fealty to an autocrat. A reporter for Le Mentonnais, for instance, declared: ‘the

Marseillaise and Bogè Tzara formed a single national and patriotic song’.113 This sense of unity,

at once of art and politics, of the two nations and of the cosmopolitan audience, was

emphasised by innumerable references to the way they were dressed. Review after review

noted the striking impression created by the uniformity of the bejewelled ladies all with bare

shoulders alongside men all in black.114 By providing such details and listing the attendees, local

critics stressed that this, as Dumas of La Saison described it, was ‘not some hoi polloi or short-

sighted ignorant mob’.115 In other words, the demonstration was not the work of some

extremist, or paid French claque, but of a like-minded and well-informed audience.

Having carefully staged the auditorium and, of course, the opera itself, Gunsbourg

followed up with another well-orchestrated performance. The lavish banquet he threw at the

Grand-Hôtel for his Parisian guests was replete with an exemplary cast, scenery and set pieces,

all of which were, once again, widely reviewed in the local press. Reports informed the Nice

public that after the Franco-Russian themed menu (including ‘Canapés Moscovites’ and ‘Salade

Parisienne’), Gunsbourg rose to give the first of many toasts.116 He began by recalling his

childhood memories of the Franco-Prussian war, asserting that even then (aged